WK16 - Panda Bear - Tomboy (6.5)

Released - 4/12/11

Label - Paw Tracks

BLURB - Panda Bear returned to the conversation a few weeks ago with his latest release, "Tomboy." Aside from being a member of the critically acclaimed Animal Collective, his solo career has been equally impressive. His "Person Pitch" record in 2007 was named best album of the year and went on to be be named as one of the top one hundred albums of the decade by numerous media outlets. So what does Panda Bear (or Noah Lennox) do for an encore anyway?

Rating - 6.5 out of 10

FULL STORY - For many, Panda Bear is, and always will be, a tough listen. He weaves artistic melodies and themes amidst a sea of hazy loops and ambience that can overwhelm your eardrums. Listening to a Panda Bear song is more of an auditory experiment. Don't let this deter you from his music though -- buried underneath the noise and repetition are very structured pop ideas and infrastructure. The vocals are generally filled with waves of reverb and delay, which gives the song a deeper depth and presence -- as if every song was sung by a choir of men. The best part of Panda Bear though, has got to be his lyrics. Panda Bear's lyrics are incredibly simplistic and basic, yet possess so much thought and innocence -- each track plays like a poem written by an eight year old. Honest and simple.

The album begins with 'You Can Count On Me,' which gently floats along. The pace is slow and careful, but comes off a bit dull. The lyrics mainly consist of Lennox pining for his audience to know that they can, in fact, count on him.

'Tomboy' picks up the energy as Panda Bear employs a series of looping distorted guitars and key changes. But it's obvious to me, right away, that this album takes on a completely different tone than "Person Pitch." The 2007 record was bright and warm -- while "Tomboy" has yet to establish much of a personality. Overall, 'Tomboy' (the song) comes off as monotonous and indifferent.

And so just as soon as I'm beginning to have my doubts about this record, we're hit with 'Slow Motion,' a breath taking track that brings us back in. The song has a great fusion of sounds and loops and some actual character. The vocal melodies that are present are intoxicating and synch perfectly to the music. The lyrics are an interesting take on advice as Lennox tries to convey how it's sometimes more important what people don't say, rather than what they do say:

"So they say practice makes you perfect. So they say you can't teach an old dog. So they say have an apple a day. So they say better safe than sorry. Everyone knows what they always say. And when I slow down, it's just clear how it's what they don't say that counts."

'Last Night at the Jetty' is another masterpiece that will casually sneak up on you. The song reminds me of "Guys Eyes" by Animal Collective, in that it has this old retro feel to it, but somehow also feels modern. The song mostly wades through some warm tones and calming ambience but does build to a powerful bridge halfway through the song. The melodies are also on point, and backed against a chorus of fuzz and reverb, sound like a slow Beach Boys track on acid.

A few other notable tracks are 'Afterburner' and 'Alsatian Darn,' but outside of those, the album really feels empty. There's something of a dark, industrial undertone that mires much of the record in apathy and carelessness. "Person Pitch" had so much color and positive energy, despite Panda Bear's repetitious recording style. "Tomboy" has the same production techniques and qualities, but is missing some substance and energy. It doesn't have any defining characteristics and just sort of exists. I am and will always be a Panda Bear / Animal Collective fan, but this album really doesn't do it for me (outside of a few key tracks).

Take a listen to 'Slow Motion.'

Tracks

1.) You Can Count On Me

2.) Tomboy

3.) Slow Motion

4.) Surfer's Hymn

5.) Late Night at the Jetty

6.) Drone

7.) Alsatian Darn

8.) Scheherazade

9.) Friendship Bracelet

10.) Afterburner

11.) Benfica

WK15 - Cut Copy - Zonoscope (9.5)

Released - 2/8/11

Label - Modular Recordings

BLURB - I never really got into Cut Copy over the past few years. I remember thinking once that all of these 'C' bands were all the same (Cut Copy, Crystal Castles, Chromeo, etc). Looking back now, those three bands are so entirely different, I can't believe that I just wrote all of them off as hipster dance bands. Cut Copy, actually, is quite far off from some generic hipster dance band. Sure they have some of the uptempo dance chops that remind me of Delorean, Hot Chip or Passion Pit, but on 'Zonoscope' they've also forged ahead and transformed into a dynamic indie act that doesn't deserve just a fleeting glance. The new record is much more well rounded and diverse, providing a unique listening experience for their audience.

Rating - 9.5 out of 10

FULL STORY - I should have known I'd like this album - Cut Copy is from Australia. Geography aside, I took a bit of a further look into Cut Copy to see what brought them to 'Zonoscope.' For much of their career, Cut Copy was that typical dance-rock band that had a couple songs of interest, but not much else. They had some hits that got jammed in your head and made for a great road trip soundtrack - but for the most part it was just fleeting success. Move to 2011 - Cut Copy has refined and modulated their sound while still appealing to their long standing fan base. 'Zonoscope' has a much more interpretive feel than records past and is filled with depth and substance. Rather than just throwing out a hook and seeing if people like it, they've shifted their focus to generating momentous and dynamic material that constantly grows on its listeners. There's a real sense of maturity on this album.

"Need You Now" opens the album with a steady and repetitive bass line that cycles throughout the song. Slowly, synth and chimes filter in as the drums kick in and the song finds its initial groove. Before long, the intensity picks up and waves of ambient synth flow in and out of the speakers with subtle hooks and riffs. The song has an underlying 80's feel and for whatever reason, it consistently reminds me of a more interpretive version of OMD's "If You Leave."

The second track, "Take Me Over" feels like a more mild-tempered Delorean track. The verses are fairly subdued and mainly consist of clean guitar lines and hi hats. As the chorus approaches you can tell the track is moving towards more of a dance feel as a catchy synth chord progression takes the wheel. Cut Copy does a great job on "Take Me Over" with varying their tempos and moods - while it may serve as their obligatory single - it still has character and versatility that is worth noting.

Following "Take Me Over" is the surprisingly beautiful "Where I'm Going." Filled with background harmonies and a beach-pop feel, the track literally sounds like it should have never made it on to the album...but this is Cut Copy's maturity shining through. The track feels like a modern interpretation of the Beach Boys that is filled with indie quirks and production values. It's graceful, patient and incredibly likable. I'm more than ready to put this on to a summer mixtape.

"Blink and You'll Miss a Revolution" begins out with a fog of distortion and sound effects before going into something of an atmospheric-island jam. As the vocals and keyboards hit, there is a noticeable edge and aggression that reels you in. The song has a very eery quality to it, yet is offset by the bright colors and tones that are used. Just before the two minute mark, the track really hits its stride, as a wall of sound emerges amidst a now upbeat tempo. The track then returns to its darker verse only to re-emerge with more energy and an incredible violin outro that slowly morphs into "Strange Nostalgia for the Future."

"Hanging On To Every Heartbeat" is a slow moving track that is constantly shifting instrumentation and texture. The song begins with inconspicuous little guitar riff that plays against a soft fog of synth. As the verse moves along, the synth is exchanged for acoustic guitars before moving into a very keyboard and computer-driven chorus. Somehow these constant changes in instrumentation and tone work. They keep the song interesting and relevant, without coming off as abrupt or disrupting the natural flow of the song.

Cut Copy's 'Zonoscope' appears to be one of the pleasant surprises of 2011 and is definitely an album I'd recommend to anyone that is a fan of Delorean, Miami Horror or Hot Chip - but also wants a little depth and experimentation. It's just a solid record.

Take a listen to "Where I'm Going."

Tracks

1.) Need You Now

2.) Take Me Over

3.) Where I'm Going

4.) Pharaohs & Pyramids

5.) Blink and You'll Miss a Revolution

6.) Strange Nostalgia for the Future

7.) This Is All We've Got

8.) Alisa

9.) Hanging Onto Every Heartbeat

10.) Corner of the Sky

11.) Sun God

WK14 - Bibio - Mind Bokeh (9.5)

Released - 2/4/11

Label - Warp

BLURB - One of this year's great surprises (well, not really) has got to be Bibio's "Mind Bokeh." Bibio feels like they've been around for ages, but they finally started to gain some real notoriety over the past year with their previous record, "Ambivalence Avenue." They went from an underground indie/electronic unknown, to basically a mainstay in today's music scene. Their track, 'Lovers Carvings' was even featured as the background music for an Amazon Kindle commercial. "Mind Bokeh" proves that Bibio still has that gift for producing creative and interpretive indie/electronic music. The record can be played in any which way and feels like a complete work of art. The best part of Bibio is that their music is fused from so many different styles that it really becomes a must-listen for any fan of music.

Rating - 9.5 out of 10

FULL STORY - "Mind Bokeh" begins modestly with 'Excuses,' as the ominous track slowly takes shape amidst a flutter of sound effects and digital noise. The song is continuously building and morphing colors as it turns into something of an avant garde, digital-european feel. The track then segues into the patient 'Pretentious' as dirty snare drums and what sounds like broken clocks play. Bibio does a great job at building anticipation and excitement in their music - you can almost compare them to Flying Lotus - there's always something up around the bend. As 'Pretentious' continues to build, the song transforms into this incredible slow jam complete with wavering synth lines and hooks.

'Anything New' is an unbelievable tune, that is chopped up, glitchy, yet is incredibly listenable. The song has a great dance feel that you would have never expected. Contributing to the song's appeal are the layers of hooks and riffs that capture your ears. The song also maintains a steady diet of diversity as the instrumentation is constantly changing and introducing new pieces.

'Light Sleep' brings the funk. This track is lively and has an early disco's feel to it, and is produced with a real retro and vintage feel to it. Just listening to 'Light Sleep' takes your mind away to a different place and puts you in a great mood. The song is something that I would have expected to hear on some AM Gold radio station in 1975. Once again there are numerous synth hooks and melodies that appear, only this time they are over a bed of wah-guitars and some very modest, yet ingenious percussion.

When I first heard 'Take Off Your Shirt' I was like...'oh no, Bibio what are you doing?!' The track begins with collection of hard guitar riffs and sounded like it was going to turn into some terrible rock song. This was a far departure from the Bibio I've come to know. But yes, it is a rock song - and yet it's somehow growing me. It gives Bibio that extra punch and power that you would really never expect. I still haven't come completely around on it, but nonetheless, it's very cool to see a band that refuses not to enter different genres.

'Artists Valley' will take you back to old school Bibio as the track begins with a raw folk feel. From there waves of snares, synth and digital effects come to the forefront. For the most part the track is fairly downtempo and establishes a couple nice grooves, while remaining somewhat raw and unfiltered.

'K is for Kelson' appears to be the 'Lovers Carvings' of "Mind Bokeh." It's one of those songs that are just fun to listen to. There is so much energy and excitement - and just makes you want to move around. The track feels huge, and sounds like it uses no less than 50 different instruments. The outro of the song is also worth mentioning as it has one of the coolest sounding dual synth leads I've ever heard.

While "Mind Bokeh" does tend to leave behind much of the folk influences they experienced with on "Ambivalence Avenue," (don't worry, there is still some there) the record jumps Bibio's career up another notch or two. The album is filled with artistic interpretations of both classic and newer forms of music. When these styles are created with the skill and talent of someone like Bibio, the music really jumps out of the speakers and makes you appreciate what exactly you're listening to.

Have a listen to 'Light Sleep.'

Tracks

1.) Excuses

2.) Pretentious

3.) Anything New

4.) Wake Up!

5.) Light Sleep

6.) Take Off Your Shirt

7.) Artist's Valley

8.) K is for Kelson

9.) Mind Bokeh

10.) More Excuses

11.) Feminine Eye

12.) Saint Christopher

WK13 - Destroyer - Kaputt (3)

Released - 1/25/11

Label - Merge Records

BLURB - I have to say, Destroyer's "Kaputt" has to be one of the biggest flops of 2011. I had such high expectations for the record, as a barrage of buzz was filtering in and out of Brooklyn Vegan and Gorilla vs. Bear. The album is slow, unadventurous and tedious. Yes, certain parts are incredibly mellow and unexpectedly colorful, but "Kaputt" is not something that will be making it's way into my everyday playlist.

Rating - 3 out of 10

FULL STORY - First things first, yes I know Destroyer has been around for years and years, and I am just now trying to get into his music. Forgive me. But in all seriousness, doesn't that just provide me with objectivity? The first time I heard of Destroyer was a few months back when Gorilla vs. Bear featured his video for 'Kaputt.' I loved it. Even if you haven't seen the video, just Google it...it's worth the six minute watch. But almost immediately after I watch the video I knew I'd have to go buy the album. The song itself was ok, but the video was so cool that it just kind of spiked my interest.

And so I guess I'll begin with 'Kaputt.' The worst part of 'Kaputt' is that it clocks as the sixth track on the album, so if you're trying to listen to the record straight through, you really have to sit through five terrible songs before you get to one 'ok' track. 'Kaputt' is very mellow and relaxing and kind of just floats around. It has a very day-dreamy feel to it. The lyrics also create a sense of wonder and aimless journeying:

"Wasting your days, chasing some girls. Alright..chasing cocaine - through back rooms of the world all night"

Musically, 'Kaputt' is very minimal - which I do like for this particular song. It reminds me very much of a pop / keyboard-driven version of The XX.

Unfortunately, the rest of the album is just an abysmal failure of monotonous and uninspired keyboard pop. I would really just be wasting time if I tried to go through, song by song, and review each. They are all that similar and invariably use the same formula. Slow keyboards, slow lackluster bass lines and the occasional saxophone solo. The vocals aren't anything to write home about either...pretty much just spoken dialogue in a soft tone. I'm just not feeling it...

Take a listen to Destroyer's 'Kaputt.'

Tracks

1.) Chinatown

2.) Blue Eyes

3.) Savage Night at the Opera

4.) Suicide Demo for Kara Walker

5.) Poor in Love

6.) Kaputt

7.) Downtown

8.) Song for America

9.) Bay of Pigs

WK12 - The Strokes - Angles (6.5)

Released - 3/22/11

Label - RCA Records

BLURB - Finally! After years and years of waiting, the public has finally gotten what they have demanded from The Strokes - a new album. For those that have been following this drama, it was a tumultuous period for the group filled with constant arguments and fights over the material. Compound this with Julian Casablancas, very publicly, pursuing his own solo career. But, push come to shove, the album is here. While I don't think there will ever again be releases like "Is This It" or "Room on Fire," - "Angles" certainly delivers some classic-Strokes tunes. But in all honestly, the new record doesn't stand up to the high bar of expectations all of us have come to expect from The Strokes.

Rating - 6.5 out of 10

FULL STORY - First and foremost, we can finally move forward from "First Impression of Earth." This was by far The Strokes worst album, and arguably, one of the worst albums ever made. "Angles" appears to have a similar 'experimental' aspect to it, but much of the new songs do have a old-school, grassroots Strokes feel. Which is definitely a good thing...but there are still plenty of question marks on "Angles."

One of the first experiments comes on the album's opener, 'Machu Picchu.' This song is weird, I'm somewhere in between hating and loving it. The verses are made up with some weird oriental-80's guitar work that I can't seem to get into. It's a little slow, and somewhat monotonous. However, the chorus and subsequent guitar interludes are amazing. The energy and the overall feel of the song becomes much brighter and more frenetic. This is The Strokes we all love. It almost feels like the song is made up of two entirely different parts, and when they are fused together...it doesn't really work

'Under Cover of Darkness' is the definitive best song on the album. The track is comprised of riffs and melodies that are constantly bouncing off of each other. There is a very fun and light feel to the song that is simply infectious. Further helping the song along, is a huge chorus that is belted out with immense force and depth.

Julian dials in the 80's once again for 'Two Kinds of Happiness,' and once again I'm not to sure about it - and this is coming from someone that loves 80's music. In a weird way, 'Two Kinds of Happiness' reminds me of 'Machu Picchu' in the sense that once again there are two clearly distinct sections of the song that don't match well together. With 'Two Kinds of Happiness,' the retro 80's feel of the introduction and verses are extremely well done. Simple, yet melodic. But then the music merges into this uptempo, thrashy chorus that seems to go nowhere. It just doesn't mesh.

'Gratisfaction' is old school Strokes at its finest. The track sounds like a hit someone concocted with their blues band in their garage in 1978. There is definitely a feeling of soul and blues in 'Gratisfaction.' It's also bright and energetic and fairly impossible to stop listening to, which is something I've had trouble with. Song like this are what we've all been waiting for. Awesome.

In all fairness, we probably wanted the world with "Angles." But The Strokes did finally give us a new album, so we should probably just all shut up and listen to it. That being said, it's not as strong as I hoped it would be. You can almost feel the creative control over the material through the music. Songs like 'Life is Simple in the Moonlight' and 'Call Me Back' are far cries from 'Last Night' and 'Someday.' I respect the risks involved with these tracks and some of the other ones, but just give us a couple chords, a cool melody and Julian crooning about being drunk with a girl. That's all we wanted.

Take a listen to 'Under Cover of Darkness.'

Tracks

1.) Machu Piccu

2.) Under Cover of Darkness

3.) Two Kinds of Happiness

4.) You're So Right

5.) Taken for a Fool

6.) Games

7.) Call Me Back

8.) Gratisfaction

9.) Metabolism

10.) Life is Simple in the Moonlight

25 Bands to Watch @ SXSW

So every year I do a little write-up of bands that I'll be watching at SXSW. Here's a great list of 25 artists to look out for in Austin and in 2011 (in ABC order no less). Enjoy!

1.) Braids - http://schedule.sxsw.com/events/event_MS14183

- cool, slow rising indie band w/ a female singer. very spacious and have a little pop in them.

"Lemonade" -http://soundcloud.com/drewtewksbury/braids-lemonade

2.) Cloud Nothings - http://sxsw.com/node/6636

- young and up and coming indie/punk rock band. may be the surfer blood of 2011. still not sold on them, but lots of buzz so far this year.

"Should Have" - http://soundcloud.com/carparkrecords/cloud-nothings-should-have

3.) Dale Earnhardt Jr Jr - http://schedule.sxsw.com/events/event_MS11552

- perhaps a little over hyped, but still good. indie-pop / folk / electronica duo, with great vocals.

"Nothing But Our Love" - http://soundcloud.com/lalalafuckingla/dale-earnhardt-jr-jr-nothing

4.) Eastern Conference Champions - http://schedule.sxsw.com/events/event_MS11634

- rock / pop / indie. i kind of liken them to cage the elephant a little.

"Bloody Bells" - http://soundcloud.com/sarasetorecords/eastern-conference-champions-bloody-bells

5.) Foster the People - http://www.panicmanual.com/2011/03/02/sxsw-preview-foster-people/

- just started getting to them, remind a bit of mgmt. kind of werid and awesome at the same time.

"Helena Beat" - http://soundcloud.com/theclink/foster-the-people-helena-beat

6.) French Horn Rebellion - http://schedule.sxsw.com/events/event_MS14745

- my absolute favorite party band. if they are playing a late night set and you're in the mood for drinks...definitely go. always a huge hipster dance party. new cd is very weird, but mainly their music is electronic indie dance music.

"This Moment" - http://soundcloud.com/onceuponatimemusic/french-horn-rebellion-this-moment

7.) GAYNGS - http://schedule.sxsw.com/events/event_MS12702

- still yet to jump on their bandwagon. more or less, a spacious and creative indie band which includes justin vernon of bon iver.

"Ride" - http://soundcloud.com/kevin-11-3/ride-by-gayngs

8.) Holiday Shores - http://austin2011.sched.org/artist/holidayshores

- saw them last week open for tennis & la sera, holiday shores easily could have headlined. great mix of surf rock, pop, indie, afro-pop. they remind me of an early and more innovative vampire weekend.

"Phones Don't Feud" - http://soundcloud.com/the-vinyl-district/holiday-shores-phones-dont

9.) James Blake - http://schedule.sxsw.com/events/event_MS14555

- the boy wonder from UK. does everything from dubstep to progressive pop. one of the must-sees of sxsw, i'm checking him out in BK next week.

"The Wilhelm Scream" - http://soundcloud.com/blatanti/james-blake-wilhelm-scream

10.) Jamie Woon - http://schedule.sxsw.com/events/event_MS13236

- another boy wonder from the UK. has an amazing voice and his music is very experimental pop.

"Night Air" - http://soundcloud.com/cameelah/jamie-woon-night-air

11.) Kisses - http://twitter.com/blowkissess/status/43755133292658688

- most underrated band of 2010. breezy, catchy, mellow indie pop music. side project from the singer of princeton.

"Kisses" - http://soundcloud.com/kalisana/kisses-kisses

12.) La Sera - http://sxsw.com/node/6525

- very beachy and simple music from katy goodman of the vivian girls. saw them last week, nothing spectacular, but for some reason people love katy goodman.

"Never Come Around" - http://soundcloud.com/hardlyartrecords/la-sera-never-come-around

13.) Miami Horror - http://schedule.sxsw.com/events/event_MS14742

- one of my favorite bands from 2010. awesome indie band that has an amazing dance element. neon indian produced much of their album...enough said.

"Holidays" - http://soundcloud.com/hypetrak/miami-horror-holidays

14.) Middle Brother - http://schedule.sxsw.com/events/event_MS11309

- indie folk / rock supergroup featuring members of delta spirit, dawes and deer tick.

"Someday" - http://soundcloud.com/search?q%5Bfulltext%5D=middle+brother+someday

15.) Penguin Prison - http://schedule.sxsw.com/events/event_MS13368

- another favorite of 2010. have seen them maybe 4-5 times in the last year. awesome pop band with an amazing frontman that i would liken to justin timberlake or adam levine of maroon 5

"The Worse It Gets" - http://soundcloud.com/penguin-prison/the-worse-it-gets

16.) Sharon Van Etten - http://schedule.sxsw.com/events/event_MS13519

- beautiful collection of folk, pop and indie acoustic. has a huge and loyal following. an act everyone seems to root for.

"One Day" - http://soundcloud.com/kyleokonis/sharon-van-etten-one-day

17.) Smith Westerns - http://schedule.sxsw.com/events/event_MS14654

- one of the of the most buzzworthy indie bands. raw, unique and filled with creative energy. remind me of a rougher version of the thrills with more pace.

"End of the Night" - http://soundcloud.com/the-vinyl-district/smith-westerns-end-of-the-night-1

18.) Still Corners - http://schedule.sxsw.com/events/event_MS15019

- indie band i've been following, still trying to figure them out, i'm seeing them on saturday. but they are very mellow, graceful and spacious.

"Endless Summer" - http://soundcloud.com/tenderage/still-corners-endless-summer

19.) Sun Airway - http://schedule.sxsw.com/events/event_MS14116

- great indie band with lots of bright and warm tones. nothing really has blown up for them, but they're still trying.

"Oh Naoko" - http://soundcloud.com/lifeboxset/sun-airway-oh-naoko

20.) Tennis - http://sxsw.com/node/6620

- very vintage, lo fi pop music that's made for the beach. can be a bit monotonous, but do have some quality material.

"Cape Dory" - http://soundcloud.com/aalbert83/cape-dory-tennis

21.) The Chain Gang of 1974 - http://austin2011.sched.org/event/3d61dda13236e38f3274a43c7bad08a3

- weird fusion of dance and indie pop. a bit enigmatic, nobody knows what to make of them

"We At the Disco" - http://soundcloud.com/kelsea/the-chain-gang-of-1974-stop

22.) The Head and the Heart - http://schedule.sxsw.com/events/event_MS13280

- great indie / acoustic / folk band that has been on the rise this year. kind of like fleet foxes but fun and with more pop.

"Ghosts" - The Head and the Heart - http://schedule.sxsw.com/events/event_MS13280

23.) Toro y Moi - http://www.austinbloggylimits.com/2011/03/sxsw-2011-preview-toro-y-moi.html

- probably my favorite artist of the last 2 years. used to be solely electronic but now has a full band and is just as good if not better. indie dance, pop, funk, chillwave.

"Still Sound" - http://soundcloud.com/musicmule/toro-y-moi-still-sound

24.) Yellow Ostrich - http://schedule.sxsw.com/events/event_MS13913

- every time i see yellow ostrich there is a crowd of 30,000 19 year old girls. indie pop / slightly rock / slightly folk. i think they are going to blow up. maybe this years freelance whales?

"Hold On" - http://soundcloud.com/afternoonrecords/yellow-ostrich-hold-on

25.) Yuck - http://schedule.sxsw.com/events/event_MS14037

- amazing indie rock / alternative band. remind me of every good alt-rock band from the 90's. definitely should have a huge 2011.

"Get Away" - http://soundcloud.com/yuck/yuck-get-away

WK11 - James Blake - James Blake (9.5)

Released - 2/7/11

Label - Polydor Ltd.

BLURB - Well, James Blake's full length has finally been released and let me be one of the first to tell you that it's well worth the wait. The record is brimming with progressive versatility and creativity. This album will challenge your definition of what a song should sound like. I think my roommate said it best, 'If you asked someone in 1981 what music would sound like in 2011 - they would have probably been describing James Blake.' Of course, this would be after they finished talking about flying cars for thirty minutes. Even just trying to label this collection of sounds is difficult...maybe modern pop/electronica/soul/classical/dance? Whatever it is - this is where music is headed.

Rating - 9.5 out of 10

FULL STORY - Luckily I snagged a few tickets to Blake's first ever US show a week ago, and he didn't disappoint - and the crowd was perhaps one of the best I've ever been a part of. Everyone was there for the same reason and filled with the same level of excitement and anticipation. During slower songs you could literally hear a pin drop as the crowd astutely followed his gigantic fingers across his keyboard. During the more uptempo songs you could hear random people screaming as loud as they could, 'You da man James!!!' And oh yeah...the bass. I have never heard bass like that. Unbelievable.

The album begins with the slow-building, 'Unluck' as we're introduced to a more melancholy version of James Blake. The track is filled with unique and clever percussion that will definitely throw you for a loop upon your first listen. As the song continues to grow, waves of distorted keyboards filter through as Blake digitally contorts his voice to every color imaginable.

'Wilhelms Scream' may just be one of the best songs from this millennium. The track is as complex as it is simple - the James Blake modus operandi. 'Wilhelms Scream' is extremely patient and sincere as it begins. Ambient keyboard chords and digital drums provide the ideal canvas for his lyrics:

"I don't know about my dreams. I don't know about my dreaming any more. All I know is that I'm falling, falling, falling, falling. Might as well fall in. I don't know about my love. I don't know about my loving anymore. All that I know is I'm loving, falling, loving, loving. Might as well love you."

What's great about 'Wilhelms Scream' is that each lyrical stanza is more or less the same, but the delivery and instrumentation is constantly pumping more emotion and energy into the song as it progresses. About halfway in, the keyboards are completely fuzzed out and distorted while the drum beat changes entirely - creating a sense of chaos that sharply contrasts the graceful nature of the song.

Creativity shines on 'I Never Learnt to Share.' Blake begins by looping multiple voices over the line - 'My brother and my sister don't speak to me. But I don't blame them.' Once again as the song builds, a flurry of well conceived effects transition in and out before finally exploding into an eruption of synth and bass at the 3:41 mark.

'Give Me My Month' appears to be a one-take number. It's both raw and beautiful, and on the opposite end of the dub-step spectrum that many people associate Blake with. The song features only an acoustic piano and Blake's voice, and is a great surprise to find on the album. 'Give Me My Month' showcases just how intelligent and versatile Blake is. He has the ability to effortlessly create both insane dub-step records like 'CMYK,' while also having the skill set and wherewithal to pen elegant classical pop tracks like this one.

Don't miss this bandwagon. James Blake, by far, is exceeding all of his lofty expectations and is genuinely pushing music into several new directions. His work is clever, ingenious, simple, progressive and extremely well thought out. Just listening to this debut record will serve as an eye-opener and will have music enthusiasts everywhere desperately searching for more artists like James Blake.

Have a listen to "Wilhelms Scream"

Tracks

1.) Unluck

2.) Wilhelms Scream

3.) I Never Learnt to Share

4.) Lindisfarne I

5.) Lindisfarne II

6.) Limit to Your Love

7.) Give Me My Month

8.) To Care (Like You)

9.) Why Don't You Call Me?

10.) I Mind

11.) Measurements

12.) Tep and the Logic